Tag Archives: Persian

In Persian Interventions, John O. Hyland challenges earlier studies that assume Persia played Athens against Sparta in a defensive balancing act. He argues instead for a new interpretation of Persian imperialism, one involving long-term efforts to extend diplomatic and economic patronage over Greek clients beyond the northwestern frontier. Achaemenid kings, he asserts, were less interested in Ionia for its own sake than in the accumulation of influence over Athens, Sparta, or both, which allowed them to advertise Persia’s claim to universal power while limiting the necessity of direct military commitment. The slow pace of intervention resulted from logistical constraints and occasional diplomatic blunders, rather than long-term plans to balance and undermine dangerous allies.

John O. Hyland is an associate professor of history at Christopher Newport University.

The third Yašt (“hymn”) in the collection of the 21 (22) YAv Yašts is dedicated to (the deity, prayer and the divine correspondence of the fire) Aša Vahišta “Best Order”. The text formulates an (eschatologically significant) ritual context and a magical (= medical) charm. Due to the ritual and medical importance of Yt 3, various translations into Middle and New Persian can be found. They provide insights into the interpretation of the text by the later Zoroastrians.

Ardwahišt Yašt is the third in the series of Avestan hymns addressed to individual divinities. It is devoted to one of the greatest of the Zoroastrian Aməša Spəntas, Aša Vahišta. The Ardwahišt Yašt is itself accordingly recited in rituals to cure the sick.

Götz König is a scholar of Zoroastrianism and a philologist working on ancient and Middle Iranian languages. He is currently a deputy professor at the Institute of Iranian Studies, Free University of Berlin, Germany. He has made important contributions to the study of Old, Middle and New Iranian Zoroastrian literature. His two monographs, “Die Erzählung von Tahmuras und Gamšid” (Wiesbaden 2008) and “Geschlechtsmoral und Gleichgeschlechtlichkeit im Zoroastrismus” (Wiesbaden 2010), have to be highlighted. They convey an impression of his refined philological technique which is at the service of a history of Iranian culture.

The Etymological Dictionary of Persian is the most comprehensive and up-to-date work in the field of Classical and Modern New Persian historical lexicology and etymology. Since the publication of P. Horn’s Grundriss der neupersischen Etymologie (1893) and H. Hübschman’s Persische Studien (1895), enormous progress has been made in the field, and many etymologies have been revised or proposed. This new etymological dictionary, with more than 5500 entries, covers the entire principal vocabulary of Persian lexicon of both Iranian and non-Iranian origin, as well as the inherited lexicon of Persian and synthesizes the achievements of Iranian, and Indo-European, comparative linguistics over the last century. It covers also the vocabularies from diffrent sources of the Persian language attested in Classical poetry, historical narratives, mediaeval Farhangs “dictionaries”, as well as the vocabularies from modern urban and daily vernaculars.

In a long series of essays, written during almost half a century, Bo Utas analyses the development of West Iranian languages, particularly Old, Middle, and New Persian, from various perspectives. The focus is placed on the transition from Middle to New Persian and the final essays (hitherto partly unpublished) especially elucidate this process in the light of an interaction between oral and written language.
This book is the second volume of collected articles by Bo Utas. The first volume, Manuscript, Text and Literature. Collected Essays on Middle and New Persian Texts, was published on the occasion of his 70th birthday as no. 29 in the series Beiträge zur Iranistik in 2008.
The seventeen articles in the present volume cover a time span of about 2,500 years and encompass all the stages of Persian. It also contains two entirely new articles, “The Grammatical Transition from Middle to New Persian” and “Between Spoken and Written: The Formation of New Persian”, which sum up much of Bo Utas’ philological research.

The Kurdish Shanama and its Literary and Religious Implications, as the result of a long-time fieldwork in the cultural spans of Zagros, focuses on the newly survived epic-heroic narratives known as Razm-nama, Jang-nama or Shanama. In this work, author draws attention to the existence of an unexpectedly rich epic-heroic tradition in literary Gurani (a composite idiom used in the Zagros regions) and strongly suggest that this tradition is largely independent of the Ferdowsi’s Shahnama but has many common features with other works of the Sistani cycle of epics and the Persian Naqqali tradition. This work addresses the structural and contextual similarities and differences between this tradition and its counterparts in Persian literature, and subsequently proposes a new understanding of the term Shahnama and the term Xwadaynamag. In this work, Chaman Ara, challenges the common understandings of the concept of Gurani, and presents analysis and descriptions of some linguistic features of the theory of Gurani literary language.

The essays in Ruse and Wit examine in detail a wide range of texts (from nonsensical prose, to ribald poetry, titillating anecdotes, edifying plays, and journalistic satire) that span the best part of a millennium of humorous and satirical writing in the Islamic world, from classical Arabic to medieval and modern Persian, and Ottoman Turkish (and by extension Modern Greek). While acknowledging significant elements of continuity in the humorous across distinct languages, divergent time periods, and disparate geographical regions, the authors have not shied away from the particular and the specific. When viewed collectively, the findings presented in the essays collected here underscore the belief that humor as evidenced in Arabic, Persian, and Turkish narrative is a culturally modulated phenomenon, one that demands to be examined with reference to its historical framework and one that, in turn, communicates as much about those who produced humor as it does about those who enjoyed it.